New Book | Women Artists: The Linda Nochlin Reader
Due out this summer from Thames & Hudson:
Linda Nochlin, Women Artists: The Linda Nochlin Reader, edited by Maura Reilly (London: Thames & Hudson, 2015), 434 pages, ISBN: 978-0500239292, $50.
Linda Nochlin is one of the most accessible, provocative, and innovative art historians of our time. In 1971 she published her essay “Why Have There Been No Great Women Artists?”—a dramatic feminist call-to-arms that called traditional art historical practices into question and led to a major revision of the discipline.
Women Artists brings together twenty-nine essential essays from throughout Nochlin’s career, making this the definitive anthology of her writing about women in art. Included are her major thematic texts “Women Artists After the French Revolution” and “Starting from Scratch: The Beginnings of Feminist Art History,” as well as the landmark essay and its rejoinder “‘Why Have There Been No Great Women Artists?’ Thirty Years After.” These appear alongside monographic entries focusing on a selection of major women artists including Mary Cassatt, Louise Bourgeois, Cecily Brown, Kiki Smith, Miwa Yanagi, and Sophie Calle. Women Artists also presents two new essays written specifically for this book and an interview with Nochlin investigating the position of women artists today.
Linda Nochlin is a highly celebrated feminist art historian. She is the Lila Acheson Wallace Professor of Modern Art Emerita at the Institute of Fine Arts, New York University. Her major books include Courbet, Representing Women, and Women, Art, and Power.
Maura Reilly has worked as a critic for Art in America and as a lecturer at the Museum of Modern Art, New York. She has held curatorial positions at the Brooklyn Museum and at the American Federation of Arts, New York. She is coauthor, with Linda Nochlin, of Global Feminisms: New Directions in Contemporary Art.
Call for Papers | Sixth Annual Feminist Art History Conference
Sixth Annual Feminist Art History Conference
American University in Washington, D.C., 6–8 November 2015
Proposals due by March 2015
This annual conference builds on the legacy of feminist art-historical scholarship and pedagogy initiated by Norma Broude and Mary D. Garrard at American University. To further the inclusive spirit of their groundbreaking anthologies, we invite papers on subjects spanning the chronological spectrum, from the ancient world through the present, to foster a broad dialogue on feminist art-historical practice. Papers may address such topics as: artists, movements, and works of art and architecture; cultural institutions and critical discourses; practices of collecting, patronage, and display; the gendering of objects, spaces, and media; the reception of images; and issues of power, agency, gender, and sexuality within visual cultures. Submissions on under-represented art-historical fields, geographic areas or national traditions, and issues of race and ethnicity are encouraged.
To be considered for participation, please provide a single document in Microsoft Word. It should consist of a one-page, single-spaced proposal of unpublished work, up to 500 words in length for a 20-minute presentation, followed by a curriculum vitae of no more than two pages. Please title the document “[last name]-proposal”. Submit materials with the subject line “[last name]-proposal” to: fahc6papers@gmail.com. Submission Deadline: May 15, 2015. Invitations to participate will be sent by July 1. Send general queries to: fahc2015queries@gmail.com.
Keynote speaker: Professor Amelia Jones, University of Southern California: “The Curating of Feminist Art (or is it the Feminist Curating of Art?)”
Sponsored by the Art History Program and the Department of Art, College of Arts and Sciences, American University. Organizing committee: Juliet Bellow, Norma Broude, Kim Butler Wingfield, Mary D. Garrard, Helen Langa, Andrea Pearson, and Ying-chen Peng
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